bossa nova
During the 50s, Brazil was living the euphoria of economic growth generated after the Second World War. Based on the wave of optimism of the "Golden Years", a group of young musicians and upper middle-class composers of Rio de Janeiro began looking for something really new and it was able to escape the operatic style that dominated the Brazilian music. These artists believed that Brazil could influence the world with their culture, so the new movement aimed at internationalization of Brazilian music.
For most critics, Bossa Nova began officially in 1958 with a simple guitarist João Gilberto. A year later, the musician released his first LP, "Chega de saudade", which definitely marked the presence of the musical style in the Brazilian scenario. Much of the music of the LP came from the partnership between Tom Jobim and Vinicius de Moraes. The pair wrote “Garota de Ipanema", which is undoubtedly one of the most important songs in the history of Brazilian music. To get an idea, it was considered in 2005 by the US Library of Congress as one of 50 major musical works of humanity.
The Bossa Nova was internationally accepted in 1962, in a historic concert at Carnegie Hall in New York, attended by Tom Jobim, João Gilberto, Oscar Castro Neves, Agostinho dos Santos, Luiz Bonfa, Carlos Lyra, among other artists.
The strong influence of American Jazz was later criticized by some artists. In the mid 1960s, a group formed by Marcos Valle, Dori Caymmi, Edu Lobo and Francis Hime reconnected bossa nova to samba, and northeastern xote.
With the political changes caused by the military coup of 1964, the songs began to bring social issues. In this way, the music turned into a clear political contestation instrument of Rio's middle class, a symbol of resistance to repression established by the dictatorship. It was the beginning of MPB!
For most critics, Bossa Nova began officially in 1958 with a simple guitarist João Gilberto. A year later, the musician released his first LP, "Chega de saudade", which definitely marked the presence of the musical style in the Brazilian scenario. Much of the music of the LP came from the partnership between Tom Jobim and Vinicius de Moraes. The pair wrote “Garota de Ipanema", which is undoubtedly one of the most important songs in the history of Brazilian music. To get an idea, it was considered in 2005 by the US Library of Congress as one of 50 major musical works of humanity.
The Bossa Nova was internationally accepted in 1962, in a historic concert at Carnegie Hall in New York, attended by Tom Jobim, João Gilberto, Oscar Castro Neves, Agostinho dos Santos, Luiz Bonfa, Carlos Lyra, among other artists.
The strong influence of American Jazz was later criticized by some artists. In the mid 1960s, a group formed by Marcos Valle, Dori Caymmi, Edu Lobo and Francis Hime reconnected bossa nova to samba, and northeastern xote.
With the political changes caused by the military coup of 1964, the songs began to bring social issues. In this way, the music turned into a clear political contestation instrument of Rio's middle class, a symbol of resistance to repression established by the dictatorship. It was the beginning of MPB!
Brazilian rock
The sixties opened with the traditional rock, with the emergence of the Beatles and the Rolling Stones, the Brazilian rock exploded definitely in various forms, becoming one of the most creative in Latin America. The movement Jovem Guarda, led by Roberto Carlos, Erasmo Carlos and Wanderléa, involved most youth, with television programs, live shows and numerous discs between LPs and compact legendary. Besides the three, also stood out the singers Eduardo Araujo and Ronnie Von, Caetano Veloso, Gilberto Gil, Torquato Neto, Rogério Duprat and, in a special way, the Mutantes.
The 70s were marked by the bands and performers "made in Brazil", which definitely affirmed the identity of the national rock, composing and singing in Portuguese, and also expanding the field of technology, equipment and studios. It was the decade that also introduced in the country the great shows, both in concert halls, gymnasiums and so special, outdoors. Stood out even in the seventies, groups Som Imaginário, O Peso, Bixo da Seda, Moto Perpetuo, Modulo Mil, Arnaldo (Baptista) & Patrulha do Espaço; Sa, Rodrix & Guarabira; Secos & Molhados and Veludo. The highlight of this decade is the emergence of Raul Seixas that became the biggest rock star in Brazil.
In the 80s, the Brazilian rock is firm in the market. Famous names of MPB and romantic music give way on the charts with artists influenced by new international trends.The Blitz group, led by Evandro Mesquita, is the first phenomenon. His song “Você não soube me amar", 1982, is a national success. The following is an outbreak of new talents such as Red Baron, which has Cazuza, considered the greatest lyricist of Brazilian rock of the 80's, Kid Abelha & the Aboboras Selvagens, Legiao Urbana, Paralamas do Sucesso and Camisa de Venus.
In 90 years, appear groups singing in English, opening international prospects for success. The group Sepultura is involved in Europe and in the United States. The group Viper conquers Japan. From 1993 bands singing in Portuguese return to be successful and incorporate regional northeastern rhythms, like Raimundos (GMT) and Chico Science & Nação Zumbi and Mundo Livre S / A (Recife) .
The 70s were marked by the bands and performers "made in Brazil", which definitely affirmed the identity of the national rock, composing and singing in Portuguese, and also expanding the field of technology, equipment and studios. It was the decade that also introduced in the country the great shows, both in concert halls, gymnasiums and so special, outdoors. Stood out even in the seventies, groups Som Imaginário, O Peso, Bixo da Seda, Moto Perpetuo, Modulo Mil, Arnaldo (Baptista) & Patrulha do Espaço; Sa, Rodrix & Guarabira; Secos & Molhados and Veludo. The highlight of this decade is the emergence of Raul Seixas that became the biggest rock star in Brazil.
In the 80s, the Brazilian rock is firm in the market. Famous names of MPB and romantic music give way on the charts with artists influenced by new international trends.The Blitz group, led by Evandro Mesquita, is the first phenomenon. His song “Você não soube me amar", 1982, is a national success. The following is an outbreak of new talents such as Red Baron, which has Cazuza, considered the greatest lyricist of Brazilian rock of the 80's, Kid Abelha & the Aboboras Selvagens, Legiao Urbana, Paralamas do Sucesso and Camisa de Venus.
In 90 years, appear groups singing in English, opening international prospects for success. The group Sepultura is involved in Europe and in the United States. The group Viper conquers Japan. From 1993 bands singing in Portuguese return to be successful and incorporate regional northeastern rhythms, like Raimundos (GMT) and Chico Science & Nação Zumbi and Mundo Livre S / A (Recife) .
Brega
Brega appeared in Brazil with the primary singer (Vicente Celestino) in the mid-30, but only in the 50's and 60's it really became popular. Brega is known to have a simple structure, having rhymes and choruses easy to decorate. With strong melodies and typically romantic themes many singers were emerging. One of the biggest hits of the 70s was Waldick Soriano with the music “Eu não sou cachorro não”.
It was also in the 80s that arose among the brega singers sex appeal in the dances, the music and the costumes. Singers like Sidney Magal and Gretchen, who became known as the "Queen of Butt" with Conga, La Conga, were the ones that stood out in this regard. The term "brega" was used by the people of the middle class, as synonymous with bad taste, even in the 80's the singer Eduardo Dusek used the term "Brega-Chic" to designate clumsiness, as it was known to most popular class at the time . So it can be said that the name originally pejorative and discriminatory nature was losing this part over time, where artists now use the tacky in a more humorous bias, double-meaning lyrics satirizing everyday. Some of the best known names in the world are: Odair José; Waldick Soriano; Paulo Sérgio; Agnaldo Timoteo; Diana; Fernando Mendes; Reginaldo Rossi; Roberto Carlos; Fábio Júnior; Fagner; Fafa Belém; etc.
More recently (mid-90s) the “new brega" which is better known as tecnobrega or cheesy pop, gained a lot of fans, the greatest example of this style is Calypso band. This band is a product that the current cultural industry (better known as the music industry) supports, for they say giving the public what they like and want to hear.
It was also in the 80s that arose among the brega singers sex appeal in the dances, the music and the costumes. Singers like Sidney Magal and Gretchen, who became known as the "Queen of Butt" with Conga, La Conga, were the ones that stood out in this regard. The term "brega" was used by the people of the middle class, as synonymous with bad taste, even in the 80's the singer Eduardo Dusek used the term "Brega-Chic" to designate clumsiness, as it was known to most popular class at the time . So it can be said that the name originally pejorative and discriminatory nature was losing this part over time, where artists now use the tacky in a more humorous bias, double-meaning lyrics satirizing everyday. Some of the best known names in the world are: Odair José; Waldick Soriano; Paulo Sérgio; Agnaldo Timoteo; Diana; Fernando Mendes; Reginaldo Rossi; Roberto Carlos; Fábio Júnior; Fagner; Fafa Belém; etc.
More recently (mid-90s) the “new brega" which is better known as tecnobrega or cheesy pop, gained a lot of fans, the greatest example of this style is Calypso band. This band is a product that the current cultural industry (better known as the music industry) supports, for they say giving the public what they like and want to hear.
choro
Choro appeared in Rio de Janeiro in 1870, originated from the fusion of European rhythms with african-Brazilian rhythms. They used, among other instruments, guitar, flute and ukulele, giving the music a sentimental aspect, melancholic and "cranky". At first it was just a group of musicians on Saturdays and Sundays gathered at the home of one of them to make music. It was from 1880 that Choro became popular in dance halls and in the Rio suburb. Ernesto Nazareth and Chiquinha Gonzaga were the first composers to become successful
In the 30's, with the radio support and investment of disk recorders, Choro became a national success. Alfredo da Rocha Vianna Filho, Pixinguinha, was the main name of the period, author of more than a hundred mourners and one of the greatest composers of Brazilian popular music. Its importance was such that the National Day of Choro was established on April 23, his birthday. This tribute was proposed by Senator Arthur's Table and approved by the President on September 4, 2000.
In the 50's, the musical style lost its space due to the emergence of bossa nova, but remained present in the production of various musicians of MPB. It was rediscovered in the 70's when they created the Choro Club, which reveal new sets across the country and national festivals.
In the 30's, with the radio support and investment of disk recorders, Choro became a national success. Alfredo da Rocha Vianna Filho, Pixinguinha, was the main name of the period, author of more than a hundred mourners and one of the greatest composers of Brazilian popular music. Its importance was such that the National Day of Choro was established on April 23, his birthday. This tribute was proposed by Senator Arthur's Table and approved by the President on September 4, 2000.
In the 50's, the musical style lost its space due to the emergence of bossa nova, but remained present in the production of various musicians of MPB. It was rediscovered in the 70's when they created the Choro Club, which reveal new sets across the country and national festivals.
forró
- Forró Pé-de-serra: It was originated in the mid 1940 in the Northeast. It is played by trios of bass drum, accordion and triangle giving unique timbre feature to the music. In the dance is common to see the basic steps and simple variations such as simple lady turns, not being very frequent. Luiz Gonzaga, Jackson do Pandeiro and Dominguinhos are examples of musicians who play forró Pé-de-serra.
- Forró Universitário: Emerged when southerners young people started playing and dancing forró pé-de-serra in a different way, with strong influences of Rock`n Roll, Samba, Funk and Reggae. Among the bands that play forró universitário we can mention: Fala Mansa, Rastapé and Forróçana.
- Forró Eletrônico: Also originated in the late 90s, it shows a stylized language and a flashy look, with particular emphasis on electronic instruments. Dance is also more stylized, no longer small steps, as the forró pé de serra and forró universitário. Here are included Frank Aguiar, Genival Lacerda, Mastruz com Leite and Calypso.
frevo
Frevo emerged in Recife in the late nineteenth century, and is characterized by extremely fast pace. Very performed during the carnival, were common conflicts between frevo blocks, they left ahead of its blocks to intimidate rival blocks and protect his banner. Capoeira fighting developed by African slaves on Brazilian soil and has in Pernambuco one of their cribs, directly influenced the origins of frevo. The frevo is a style of music made for the carnival to provide more animation in mirth. With the passage of time, frevo gained its own characteristics.
- Frevo de rua: Instrumental orchestra, without adding any voice. In the 1930s, with the popularization of rhythm by disk writes and its transmission by radio programs, frevo was defined as "street frevo" when purely instrumental.
- Frevo-canção: The Frevo-canção is a frevo shed that probably arose in the late nineteenth century, with more melody than the street frevo. It is usually introduced by an instrumental section of the song, followed by lyrics and then finally concluded with the instrumental. Among the best known performers of this type include: Alceu Valenca and Claudionor Germano. Among the composers stand out Capiba, Nelson Ferreira, J. Michilles and Alceu Valenca.
- Frevo de bloco: Frevo de bloco is a frevo performed mainly by guitars, ukuleles, banjos, mandolins, violins, in addition to wind and percussion instruments. It is also called by the more traditional composers of "march-of-block".
funk
Funk is a musical style that emerged through the black American music in the late 1960. In fact, funk originated from the soul music, with a more pronounced beat and some influences of R & B, rock and music psychedelic. The characteristics of this musical style are: syncopated rhythm, dense bass line, a section of heavy metals and rhythmic, and a percussion (beat) remarkable and dancing.
- 60s: The Indecent Funk: Funk has emerged as a "mix" between R & B styles, jazz, and soul music. At first, the style was considered indecent, for the word "funk" had sexual connotations in English. This style is more about a music with a slower pace and dancing, sexy, loose, with repeated phrases.
- 70s: The P-Funk: The most characteristic change in funk, in the 70s, was made by George Clinton, with his bands Parliament and, later, Funkadelic. It was a heavier funk, influenced by psychedelia, giving rise to the subgenre called P-Funk. During this period arose renowned bands like BT Express, Commodores, Earth Wind & Fire, War, Lakeside, Brass Construction, Kool & The Gang, etc.
- 80s and Current Context: The 80 served to "break" the traditional funk and turn it into several subgenres, according to the taste of the listener, as the music in this period was extremely commercial. Derivatives rap, hip-hop and break gained a huge force in the US through bands like Sugarhill Gang and Soulsonic Force. In the late 80s, came to house music. Funk derivative, this style was characterized by the mixture of traditional funk with samplers and electronic sound effects. The derivative of this more funk in Brazil is the funk from Rio de Janeiro. Initially the letters talked about drugs, weapons and life in the slums (favelas), then the main funk theme became erotic, with letters of sexual connotation and double meaning. The funk is quite popular in many parts of Brazil and also abroad, became one of the great sensations of the summer in 2005.
- The Criticism: This musical style remains the target of a lot of society's resistance, being heavily criticized by intellectuals and by the population. Funk from Rio de Janeiro is often criticized for its poverty, for presenting an obscene and vulgar language and for the apology to drugs. Much of the criticism comes from the association of the rhythm with drug dealing, as funk parties are customarily performed by dealers to attract drug users to the slums. Another problem reported funk is the volume in which usually run: funk dances, often do not respect limit on the volume of sound, breaking laws concerning the volume limit allowed in public places.
indígena
The Brazilian indigenous music is part of the vast cultural universe of the indigenous peoples who inhabited and inhabit Brazil. As one of the most important cultural activities in the socialization of the tribes, the music of Brazilian Indians is polymorphous and huge variety, making it impossible extensive detailing the scope of a single article. Here we describe some general characteristics, remembering that individual cases may have even significant discrepancies regarding this summary.
Contrary to what one might suppose, the Indian musical tradition is not antique, it is alive and ever-changing, constantly being practiced and renewed, incorporating even non-Indian material, shall retain their values and essential forms preserved , and is a showcase of their world views, crystallized into sound forms.
Most indigenous people associate their music to the transcendent and magical universe and is used in all religious rituals. The indigenous music is turned from its ancient origins to the founding myths and used with socialization purposes, worship, connection with the ancestors, exorcism, magic and healing. It is also important in the cathartic rites, when "when working with proportions, repetitions and variations, introducing the conflict while holding it under control."
One of the bases of the Indian social system are the great rituals like Quarup, the Yawari, the Iamurikumã and initiation rituals. These ceremonial, many of which are inter-tribal, work as a lingua franca of non-verbal communication between different ethnic groups. According Franchetto and Basso, "the parties sew the upper Xingu society, a ceremonial circuit that conveys alliances and conflicts metabolizes ritually absorbing the otherness of intertribal ritual .... This vision as frank language puts music at the heart of the Xingu system, considering that these rituals are par excellence, musical rituals. "
Contrary to what one might suppose, the Indian musical tradition is not antique, it is alive and ever-changing, constantly being practiced and renewed, incorporating even non-Indian material, shall retain their values and essential forms preserved , and is a showcase of their world views, crystallized into sound forms.
Most indigenous people associate their music to the transcendent and magical universe and is used in all religious rituals. The indigenous music is turned from its ancient origins to the founding myths and used with socialization purposes, worship, connection with the ancestors, exorcism, magic and healing. It is also important in the cathartic rites, when "when working with proportions, repetitions and variations, introducing the conflict while holding it under control."
One of the bases of the Indian social system are the great rituals like Quarup, the Yawari, the Iamurikumã and initiation rituals. These ceremonial, many of which are inter-tribal, work as a lingua franca of non-verbal communication between different ethnic groups. According Franchetto and Basso, "the parties sew the upper Xingu society, a ceremonial circuit that conveys alliances and conflicts metabolizes ritually absorbing the otherness of intertribal ritual .... This vision as frank language puts music at the heart of the Xingu system, considering that these rituals are par excellence, musical rituals. "
mpb
We can say that MPB has emerged during the colonial period, from the mixture of various styles. Between the sixteenth and eighteenth centuries the sounds of African origin, military fanfares, religious music and European classical music got mixed. In the eighteenth and nineteenth centuries, stood out in the cities, that were developing and increasing demographically, two musical rhythms that marked the history of MPB: lundu and the fad. Lundu, of African origin, had a strong character and a sensuous dance rhythmic beat. Already popular song, of Portuguese origin, brought the melancholy and spoke of love in a quiet, scholarly beat.
In the second half of the nineteenth century, Choro or Chorinho arises from the mixture of Lundu and “modinha”. In 1899, the Chiquinha Gonzaga singer composes the music Abre Alas, one of the most famous carnival music of history.
With the growth and popularity of radio in the 1920s and 1930s, the Brazilian popular music grows even more. At this early time of Brazilian radio, we highlight the following singers and composers: Ary Barroso, Lamartine Babo (creator of “o teu cabelo nao nega"), Dorival Caymmi, Lupicínio Rodrigues and Noel Rosa.
In the 1940s stands out in the Brazilian music scene, Luis Gonzaga, the "king of Baiao". Speaking about the setting of the dry Northeast, Luis Gonzaga is successful with songs like, for example, Asa Branca and Assum Preto.
In the late 50s Bossa Nova arises, a sophisticated and smooth style. Elizeth Cardoso, Tom Jobim and João Gilberto are the main singers. Bossa Nova spreads everywhere, a big hit, especially in the United States.
In the 1970s, several musicians start becoming successful in the four corners of the country. Coming from Bahia, Gal Costa and Maria Bethania are successful in large cities. The same happens with Djavan (coming of Alagoas), Fafa Belém (Pará), Clara Nunes (Minas Gerais), Belchior and Fagner (both of Ceará), Alceu Valenca (Pernambuco) and Elba Ramalho (Paraíba) . In the Brazilian rock scene stand out Raul Seixas and Rita Lee. In the funk scenario appear Tim Maia and Jorge Ben Jor.
The 90 years are also marked by the growth and success of country music. In this context, with a strong romantic character, emerge in the music scene: Chitãozinho & Xororó, Zeze di Camargo and Luciano, Leandro & Leonardo and João Paulo & Daniel.
At this time, the rap scene is: Gabriel, o Pensador, O Rappa, Planet Hemp, Racionais MCs and Pavilhão 9.
The XXI century begins with the successful rock groups with songs directed to young teenage audience. Examples: Charlie Brown Jr, Skank, Detonautas and CPM 22.
In the second half of the nineteenth century, Choro or Chorinho arises from the mixture of Lundu and “modinha”. In 1899, the Chiquinha Gonzaga singer composes the music Abre Alas, one of the most famous carnival music of history.
With the growth and popularity of radio in the 1920s and 1930s, the Brazilian popular music grows even more. At this early time of Brazilian radio, we highlight the following singers and composers: Ary Barroso, Lamartine Babo (creator of “o teu cabelo nao nega"), Dorival Caymmi, Lupicínio Rodrigues and Noel Rosa.
In the 1940s stands out in the Brazilian music scene, Luis Gonzaga, the "king of Baiao". Speaking about the setting of the dry Northeast, Luis Gonzaga is successful with songs like, for example, Asa Branca and Assum Preto.
In the late 50s Bossa Nova arises, a sophisticated and smooth style. Elizeth Cardoso, Tom Jobim and João Gilberto are the main singers. Bossa Nova spreads everywhere, a big hit, especially in the United States.
In the 1970s, several musicians start becoming successful in the four corners of the country. Coming from Bahia, Gal Costa and Maria Bethania are successful in large cities. The same happens with Djavan (coming of Alagoas), Fafa Belém (Pará), Clara Nunes (Minas Gerais), Belchior and Fagner (both of Ceará), Alceu Valenca (Pernambuco) and Elba Ramalho (Paraíba) . In the Brazilian rock scene stand out Raul Seixas and Rita Lee. In the funk scenario appear Tim Maia and Jorge Ben Jor.
The 90 years are also marked by the growth and success of country music. In this context, with a strong romantic character, emerge in the music scene: Chitãozinho & Xororó, Zeze di Camargo and Luciano, Leandro & Leonardo and João Paulo & Daniel.
At this time, the rap scene is: Gabriel, o Pensador, O Rappa, Planet Hemp, Racionais MCs and Pavilhão 9.
The XXI century begins with the successful rock groups with songs directed to young teenage audience. Examples: Charlie Brown Jr, Skank, Detonautas and CPM 22.
rap/hip hop
In Brazil, Hip-Hop arrived in the early 80s through the dance teams, magazines and discs sold in May 24 (São Paulo). The pioneers of the movement, which initially danced Break, were Nelson Triunfo, after Thaíde & DJ Hum, MC / DJ Jack, Os Metralhas, Racionais MC’s and many others. They danced in the street Rua 24 de Maio, but were pursued by shopkeepers and police; then went to St. Benedict and settled there. There was a period of division between the breakers and rappers, the first remained in St. Benedict, the others went to the Roosevelt Square. In 1988 was released the first phonograph record of Rap Nacional, the compilation "Hip-Hop Street Culture" by Eldorado label. This collection participated Thaide & DJ Hum, MC / DJ Jack, Código 13 and other beginners groups.
They are tens of millions of Brazilians - young, black and poor. They live on the other side of the mirror of the official country, where they make 3 meals a day, we discuss the tuition fees of private schools and one goes to Miami with the kids. Imagine connecting TV and never find the news of a good program to make the weekend. Or walk through a shopping mall and be followed by suspicious security guards.
In São Paulo, the rap groups number in the hundreds, and the shows have tens of thousands of young people every weekend. The Racionais Mc's group have sold over 500,000 records in its latest work: “Sobrevivendo no inferno” (“Surviving in Hell”).
They are tens of millions of Brazilians - young, black and poor. They live on the other side of the mirror of the official country, where they make 3 meals a day, we discuss the tuition fees of private schools and one goes to Miami with the kids. Imagine connecting TV and never find the news of a good program to make the weekend. Or walk through a shopping mall and be followed by suspicious security guards.
In São Paulo, the rap groups number in the hundreds, and the shows have tens of thousands of young people every weekend. The Racionais Mc's group have sold over 500,000 records in its latest work: “Sobrevivendo no inferno” (“Surviving in Hell”).
Samba
Samba came from the mixture of musical styles of African and Brazilian origin. The samba is played with percussion instruments and accompanied by guitar and ukulele. Generally, samba lyrics tell the life and the daily life of those who live in the cities, especially the poor people. Samba term is of African origin and its meaning is linked to the tribal dances of the continent.
Main types of samba:
Main types of samba:
- Samba de partido alto: With improvised lyrics, this style talks about the reality of the favelas and of the poorest regions. It is the style of the great masters of samba. The best-known high party composers are: Moreira da Silva, Martinho da Vila and Zeca Pagodinho.
- Pagode: Born in the city of Rio de Janeiro, in the 70s (1970), and won the radio and dance floors in the next decade. It has a repetitive rhythm and uses percussion instruments and electronic sounds. Spread rapidly around Brazil thanks to simple and romantic lyrics. The main groups are: Fundo de Quintal, Negritude Jr., So Pra Contrariar, Raça Negra, Katinguelê, Patrulha do Samba, Pique Novo, Travessos, Art Popular.
- Samba-canção: Arises in the 1920s, with slow rhythms and sentimental and romantic lyrics. Example: Ai, Ioiô (1929), Luís Peixoto.
- Samba enredo: Marches and Sambas made to dance and sing in the carnival balls. Examples: Abre alas, Apaga a vela, Aurora, Balancê, Cabeleira do Zezé, Bandeira Branca, Chiquita Bacana, Colombina, Cidade Maravilhosa, among others.
- Samba exaltação: With patriotic letters and highlighting the wonders of Brazil, with orchestral accompaniment. Example: Aquarela do Brazil by Ary Barroso recorded in 1939 by Francisco Alves.
- Samba breque: This style has moments of quick stops, where the singer can include comments, many of them in critical or humorous tone. One of the masters of this style is Moreira da Silva.
- Samba gafieira: It was created in the 1940s and has orchestral accompaniment. Fast and very strong in the instrumental part, is widely used in ballroom dancing.
- Sambalanço: Emerged in the 50s (1950s) in nightclubs in São Paulo and Rio de Janeiro. Received a great influence of jazz . One of the most significant representatives of sambalanço is Jorge Ben Jor, which also mixes elements of other styles.
sertanejo
Sertanejo is characterized by simple and melancholic melody of songs, very similar to country music, maybe a little more dancing and undoubtedly more urban. While the country music had a theme based on the life of the field, the country people have changed this theme to please the general public of the cities, adopting themes of love and betrayal.
As of 1980, there was in Brazil a large commercial operation of country music, starting with Chitãozinho & Xororó and Leandro & Leonardo, later going to a lot of doubles, with its peak between the years 1988 and 1990.
After this period, the country music began to "cool down" due to the emphasis in the media to other musical styles such as pop and funk, but always remained very present in the central-southern Brazil. By the 2000s, the country music gained new prominence in the media through the ample space given to the new generation, as Bruno & Marrone, Edson & Hudson, etc.
As of 1980, there was in Brazil a large commercial operation of country music, starting with Chitãozinho & Xororó and Leandro & Leonardo, later going to a lot of doubles, with its peak between the years 1988 and 1990.
After this period, the country music began to "cool down" due to the emphasis in the media to other musical styles such as pop and funk, but always remained very present in the central-southern Brazil. By the 2000s, the country music gained new prominence in the media through the ample space given to the new generation, as Bruno & Marrone, Edson & Hudson, etc.